In the light of the two previous links, it is hard to resistcomparingCity and The Mastaba (firstnon-temporaryoutdoor artwork by ChristoJeanne-Claude). overgrowth, shape, geometry, durability, these are the features that immediately bring the two works closer,
imagined at roughly the same time by artists radically different, not
to say intrinsically opposed although belonging to the same generation.
The following interview confirms our point of view, and by the way live down these artistic labels that enclose the artists more often than they open our minds to their thought, which Germano Celant deplored shortly after inventing Arte Povera...The Focus: How does a massive and permanent structure
like this fit into your oeuvre, which has previously been characterized
by transitory installations? Jeanne-Claude: Now,
what do you call permanent? On planet Earth nothing is permanent. But
this isn’t a new departure in our work. Between 1958 and the late 60s we
already created non-temporary sculptures made of barrels, which are now
in museums and private collections. And the drawings for The Mastaba
show that it was meant to be like this right from the start, in 1977. sourceSee also | Voir aussi